In the present works, the idea of the impromptu as an open compositional process is transferred to the relationship between music and sculpture. Each sculpture is assigned a score, whereby score and sculpture emerge through a reciprocal process. The starting point is a sequential, partly improvisational composition of passages that are alternately translated into musical or spatial structures. Neither sculpture nor score can be understood as primary.

At the centre of the series is the interplay between dissonance and consonance and their differing effects in space and time. While in music a sound is perceived in relation to its immediate before and after, in sculpture all states of the composition appear simultaneously in space. As a result, tensions and resolutions do not emerge linearly but simultaneously: dissonance and consonance overlap as a spatially perceptible structure. In this simultaneity, the series examines the shift of musical temporality into a spatial order and explores the resulting different forms of perception.